The present invention relates to audio mixing systems. More particularly, the present invention pertains to audio mixing consoles and mixing systems for use in live performance applications.
Audio mixing consoles are used to control and adjust the audio characteristics and sound mix of audio signals generated by musical instruments, microphones, and like, as perceived by listeners at live audio performances. In recent years, analog mixing consoles (sometimes referred to simply as “mixers”) used in live performance applications have been supplanted by digital mixers. However, one of the single biggest flaws with conventional digital mixers is that their user interfaces resemble their older analog predecessors. For example, analog mixers use large arrays of mechanical and electromechanical knobs and faders to allow the console operators to individually adjust the audio characteristics associated with multiple audio sources and channels. Such arrays are simply not necessary for a digital mixing product but their use has not been entirely abandoned. With conventional digital mixer user interfaces, an experienced audio professional is required to page through multiple layers of on-screen menus to locate the desired feature on the mixer. This experience can create even more frustration than operating a product containing dedicated adjustment hardware. In addition, conventional digital mixer interfaces are confusing and not intuitive such that to operate them efficiently one must have extensive training in interpreting the displayed menus.
As an example of the inefficiencies caused by extensive menu layering and confusing digital mixer nomenclature, a sound engineer at a live performance venue may notice that an on stage guitar monitor has excessive audible “boom” on the bass drum and that the vocal is buried in the audio mix. Using a conventional mixing system and user interface, the sound engineer has to understand and recall which sub-mix the guitar player is on (assuming the guitar player has the luxury of his own sub-mix). Further, the engineer has to recall from memory which mixer input is associated the bass drum. The engineer then has to find the low frequency EQ knob and turn it down, assuming this is possible without affecting the overall house mix. Also, the sound engineer has to remember where the vocals come in, how they are mixed into the sub-mix, and then turn them up but not so much as to cause feedback.
What is needed, then, is a digital audio mixing system for use in live performance applications that provides a more efficient and understandable user interface.